A Quote by Irene Thomas
The cello is not one of my favourite instruments. It has such a lugubrious sound, like someone reading a will.
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I guess I'm interested in pushing the boundaries of the cello without giving up on the idea of playing the cello, if that makes any sense. I have no real interest in putting the cello through different effects to make it sound like a guitar or other instruments.
It's like an electroacoustic, surround-sound cello gamba. It embodies everything that fascinates me the most - acoustics, playing instruments, digital processing, movement of sound. Somehow, everything is combined in Ómar.
It started when I was eight years old. I first heard the cello on the radio, and I loved the sound. It was such a magical, beautiful sound. I dedicated my entire childhood to cello, practising like crazy.
A cello can sound like so many instruments, but it's only one, you know, like a guitar; it has percussive qualities. It can sing like the violin, you know, like a voice.
Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
People always have these debates about who their favourite rapper is. And I think it's based upon what mood that particular person is in. If someone's favourite rapper is a lyricist then they're focused on rhymes or substance. If someone's favourite rapper is a party rapper, you know, someone who makes music about the clubs... "Oh, he's my favourite rapper". No, his subject matter is your favourite.
There are a lot of ways to be expressive in life, but I wasn't good at some of them. Music, for instance. I was a distinct failure with the cello. Eventually, my parents sold the cello and bought a vacuum cleaner. The sound in our home improved.
There are limits to how much sound a cello can make. That's part of the framing of acoustical instruments. Finding what those limits might be, and then trying to suggest perhaps even the illusion of going beyond is part of that kind of effort.
I still think that I'm playing instruments, not just pushing buttons and there it goes. It's interactive and alive with the sound and the manipulation and it plays like instruments.
We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.
Oh, a man with a guitar is nothing compared to a man with a cello! Girls really like the way that we handle our instruments.
I brought the music out to L.A., and the producer Tommy LaPuma heard it and he said - "Man, I love it. Let's do it. Let's record it." I said, "Okay, where's the band?" He said, "We don't have a band. We want it to sound exactly like your demo." I said, "Well, I played all the instruments on the demo." You do that when you're making demos. You got your guitar, you got your sax. He said, "Well, I want it to sound just like that, so get all your instruments out here." So I ended up playing all the instruments.
I remember when I first got my cello when I was 8 years old. I remember the room it was in and what the lacquer smelled like. Instruments have just been something very special to me.
I enjoy singing, and the instruments which truly move me are the horn, the trumpet and the cello.
Reading a newspaper is like reading someone's letters, as opposed to a biography or a history. The writer really does not know what will happen. A novelist needs to feel what that is like.
We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.
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